The book is organized in 8 chapters, some of which are more specifically about theatre writing (here summarized in more detail), while others are geared toward the writing process per se. Still useful as an introduction for college students, for instructors the book would benefit from more specific examples applied to theatre and a broader variety of genres instead of trying to cover the entire writing process.

1. Distinctive Challenges in Writing about Theatre

An introductory chapter that emphasizes the relevance of perceiving the values and structure of both drama as the written play and theatre, its performed version.

2. Writing Techniques to Increase Learning

Offers general tips on writing in regard to:

• effective note taking at lectures: quickly jot down key words, then write a more comprehensive summary after the event
• Making annotations while reading is seen as superior to simply highlighting: provides an example of annotated critical writing on theatre.
• Asking specific critical questions of the text, i.e., “How would I summarize this reading for a person who has not read it,” or “In what ways does this work comment on issues or topics that are important to me?”
• Using a personal “reading response log” as an outlet for reflection and analysis: suggests dated entries, accurate citations of passages or books referred to, freedom to experiment different formats.

Then, more specifically for theatre, the chapter introduces three types of exercises:

• “Writing Dialogue: An Exercise in Listening” is recommended for playwrights: “the writer’s task is to record as closely as possible exactly what is spoken in a conversation and how the words are said.” The purpose of the exercise is not to guess the motives of the interlocutors’ dialogue, but exactly to reproduce in a different, written medium the details of the spoken interaction.
• “Close Description of Objects: An Exercise in Viewing”: the writer describes two or more very similar objects (e.g. apples) so as to develop an accurate vocabulary – for instanse about color, shape, metaphor – to make the the two objects easily recognizable by an external viewer.
• “Describing a Process: An Exercise in Narrative”: the description alerts the writer as to the importance of clarity for people who may not be familiar with the process, close attention its smaller steps, the necessity to enliven the narrative, and usefulness of revision once the description is put to the test of actual readers. Provides an example from theatre: “How to Build a Flat.” (18)

The authors invite writers to consider audiences in view of the specific format adopted, e.g. a general reader or a production crew? Examples provided.

3. The Writing Process: Predrafing, Drafting, Revising, Editing

A general chapter on writing

4. The Theatre Review and Dramatic Criticism

Suggests clarifying the publication venue for the review:

• Writing for newspapers: prompt publication, five w’s of journalism (who, what, when, where, why) and how. Provides a useful reportage checklist for observable phenomena: “Text: plot, major characters, main idea, effectiveness of language, other elements (such as music)
  • Setting: physical appearance, materials, style, color, relationship to the theatre’s architecture, relationship to the play
  • Costumes: choice of period, color, materials, style, relationship to the characters and the play
  • Lighting: atmosphere created, color choices, style, enhancement of (or detraction from) the mood of the piece
  • Sound: function of sound effects or musical score; specific examples of sound that support or compete with action
  • Acting: clarity of characterizations, vocal and physical work, notable moments in performance, sense of ensemble playing
  • Directing: clarity of story, casting choices, tempo and rhythm of performance,
  composition of stage images
• Writing for magazines: more interest in what goes beyond the local, e.g. a new interpretation of a classic play, themes addressed by the play that pertain to contemporary society.” Analysis is more focused on reasons and intentions, with the purpose of forming some form of judgement
• Writing for scholarly journals: takes a longer view.

Proposes an ideal order of reportage, leading to analysis, and – only at the end – to judgement: “The goal must be to see accurately, describe fully, think clearly, and then (and only then) to judge fairly the merits of the work.”

Practical hints for the theatre critic:

• Read the play in advance
• Take notes during the performance (on small or medium sized spiral notebook, roller-ball or other quiet pen, write larger than normal)
• Transcribe some key dialogue word by word (especially for new, yet unpublished plays)
• Highlight moments that need to be remembered in detail
• Keep the program or playbill
• Let a little time before starting the first, rough draft.

5. Text Analysis

Distinguishes two major formats, aimed at different types of audiences:

• literary analysis: for drama and theatre courses
• functional analysis: in view of a specific production and production team

Goes in some depth on principles of play analysis such as the analysis of action (“motive + obstacle + consequence = drama”), of the verbal and visual text, imagery and metaphor,structure and world view.

These concepts are developed in greater depth in other play analysis books, but the authors do offer fairly detailed and useful examples of analyses (literary or functional) geared toward different audiences.

6. Theatre History

General suggestions for approaching a longer research paper.

Specifically for theatre history: Read into the dramatic literature of the time. A sample theatre history paper is provided.

7. Dramatic Theory and the Theatrical Essay

Proposes two different approaches in the order of research (text –> questions –> theory, or questions –> texts –> theory) and a useful list of framing questions for this type of essay:

• Why do we make theatre?
• What constitutes a “good” play or performance?
• What is the value of drama?
• How do plays and performances communicate meaning?
• How are plays and performances organized?
• What is the nature of representation?
• What is the relationship between text and performance?
• How does drama interact with society

8. Sources for Research in Theatre and How to Cite them.

A technical chapter on sources and bibliographic style.

Focuses only on MLA style for clarity purposes, although this is not necessarily the current preferred style for theatre studies.